Tag: play

The Party” at the Rondo Theatre, Larkhall, Bath, April 22nd – 25th 2026

by Ian Diddams

images by Platform 8

Take Abigail’s party, add some Aykbourn, a touch of Coward and a liberal sprinkling of 2010s socio-political background and what do you get? The answer is simply Sally Potter’s “The Party” – a rattling roller-coaster ride of a kitchen sink drama with a darkly comedic edge in places.

Janet – whose home this one set play is set in – has just been promoted to a Shadow Cabinet position, in what is a thinly disguised but not mentioned, Labour opposition party. The story revolves around her relationship with her husband Bill, and the relationships of the other two couples visiting them to celebrate Janet’s news. Janet’s best friend April is in the throes of separating from her German partner Gottfried; the couple are chalk and cheese in not only appearances but also life styles and beliefs where Gottfried is very much a philosopher with a holistic outlook and April a hugely cynical ex-political agitator, while Martha – Bill’s oldest friend from university days – is with her much younger wife Jinny who is pregnant and whose future dreams may not particularly align. To complete the party is Tom, a hugely successful and rich banker who is stressed, introverted and isolated throughout the play while he waits for his wife Marianne to join them.

While not wishing to give away any plot twists or developments, nonetheless then story investigates the various couples’ relationship strains, and the external antagonisms between the group’s characters. We learn of a terrible piece of news, potentially life changing for two people, of nefarious goings on, and of historical liaisons surfacing causing disquiet. Amongst these spinning plates of interactions, we also see philosophical discussions, the best stage punch I have ever seen on a community theatre stage and a kitchen disaster complete with burning dinner smoke. Oh – And a gun. And it must also be said some very funny lines amongst it all.

Potentially the star of the show however is the set. Another Rich Canning super-set, in the limited space of the Rondo stage Rich has fitted a front room, a kitchen, a toilet and a garden patio, with two working doors and a pair of French doors, two working sinks with running water and a toilet. Despite their enforced proximity the four areas are totally distinct in their use and are used superbly to flip the action between various conversations and scenes

Tech is provided by Will Ward, Luke Emmet, Julie Dallimore and Lola McGregor as they trip seamlessly though a tsunami of sound and lighting cues, and direction is from the masterful Mark Hale who has kept the pace high as the drama unfolds before us. Publicity tasks are shared between Jacci and Alexia Jones and Richard Caddick, and Amanda Ward makes it all run smoothly back stage.

And so the cast … it’s a tight run ship and the cast members work slickly with each other. Hayley Jack plays the committed politician Janet and Rich Canning her somewhat distanced academic husband. Terry Butler is the chalk of Gottfried, healer and life coach to the cheese of Alexia Jones’ cynical April. Then there’s Nadine Comba as the older, less excitable professor to Leanna Biggs’ younger wife and superb amateur chef. Leaving Chris Constantine to play Tom, husband of Marianne, an anger suppressed banker with all the obvious City banker traits and habits.

This is an excellently produced performance that is done and dusted in seventy minutes with no interval, but that seventy minutes packs in an awful lot. Blink and you’ll miss something, and the background action is often as important and incessant, as the forefront scene being played out.

I’ve tried very hard to not give any spoilers and I’m pretty sure I’ve succeeded – if you want to learn the pitfalls, the shocks and the final ending you’ll have to get along to see “The Party” but if you haven’t got a ticket get in quickly – as of opening day afternoon there were three left over the entire run!

“The Party” is performed by “Platform 8” at the Rondo Theatre April 22nd-25th at 7.45pm each evening, and the few remaining tickets can be found at https://rondotheatre.co.uk/the-party/

Doctor Faustus Sells His Soul…. in Devizes!

Featured Image:@jenimeadephotography

Just another rainy Saturday afternoon in Devizes, whereby I watched a profound fellow dramatically sacrifice himself to the devil, then popped to Morrisons for a Toblerone! The supermarket felt insignificant and plastic after the epic conclusion of Doctor Faustus at the Wharf Theatre, which opens on Monday 26th and runs until Saturday 31st January…..

Treated to the final dress rehearsal, as our regular theatrical scribe Ian Diddams is stuffing a bucketload of Rice Krispies in this one, of which one couldn’t fail to notice! Marvellous as it is to pay Devizes’ one and only cosy theatre a visit, it leaves me in the dilemma that I’ve not the extensive theatre knowledge which Ian has, therefore, you have to make do with me simply saying what I like, or don’t.

Image @jenimeadephotography

In this case it’s the former. My mind is, with its lack of education for classic theatre, still contemplating exactly how fantastic director Liz Seabourne and her team has presented this astounding play, and the more it boggles the greater the levels of fantastic I unearth, converting me to thespian; hand me some white tights! Even though the character Dr Faustus is damned, this is another damn fine production from our wonderful theatre, rich in lighting effects, amazing costumes and makeup, and a sublime original soundtrack from our master of electronica, Moray McDonald.

Image @jenimeadephotography

Born Catholic, English sixteenth century playwright Christopher “Kit” Marlowe, of whom scholars suggest greatly influenced Shakespeare, was reputed to be an atheist and there’s a lot in the content of Dr Faustus which implies this. Whilst it doesn’t criticise religion outright in the modern sense, it certainly lampoons it, with the Pope getting a kick up the backside, for example.

Dr John Faustus condemns the academics of the science and philosophy of his era and justifies turning his hand to the dark arts, but religion he cannot escape from. Played with certain perfection by Pete Wallis, Faustus is tricky to relate to, a Renaissance egotistical Germanic tyrant, characteristics usually reserved for an antagonist; I wondered if Trump might identify with him better than I. Yet, there’s something humble about his yearning, in his curious nature for the unorthodox, to fulfil a quest of celebrity status, like a sixteenth century Vanilla Ice. Still, I couldn’t help feeling the ponce made his bed….  

Image @jenimeadephotography

Bit dodgy, he summons a human-despising conceited demon, Mephistopheles, played with absolute magnificence by Charlotte Howard. Mephistopheles acts as a kind of Cruella de Vil agent to the devil, who encourages Faustus to sign a contract with his blood; his soul for unlimited magic, which he treks the known world with, entertaining Kings and Emperors like Paul Daniels discovered voodoo. Though Mephistopheles is no Debbie McGee. Without too many spoilers, it doesn’t end well for Faustus, who learns there’s only one way out, once his twenty-four year contract with the devil expires, and it’s not a gold watch. 

Image @jenimeadephotography

If this Elizabethan forbidden thrill-seeker, overloaded with as many theatrical tricks as devils and demons, sounds seriously dark and gothic, it certainly is, but not without hilariously timeless comedy, brilliantly diluting the tragedy. There’s occasions when it’s virtually pantomime, when the devil, played with radiant vaudeville evilness by Oli Beech, a far cry from the panto dame’s sidekick at Christmas, personifies the seven deadly sins as a circus cabaret to tempt the Doc, and upon the thievery of one of Faustus’ spell books by two commoners, played side-splittingly like stereotypical moonrakers by Jessica Phillips and Ian Diddams. It is these elements which brings the archaic seriousness down a peg and makes this play equally suitable for those, like me, not so clued up on classic plays.

Image: Mij Hazel

As the many earthbound or spiritual side-characters come and go with pace, the thirteen strong performers cover various parts, and those unmentioned so far, Chris Smith, Alison Andre, Emma Comfort, Cathay Chappell, Julie Baker, Paul Snook, Sam Burrows and Amy Chappelle also require the highest of praise; there is so much work put into this, the mind, as I stated earlier, is still boggling. It entertained me, and I strongly suspect it will be some significant time before my mind stops boggling about it, way past the lifespan of the Toblerone!    

Bag yourself some tickets for this HERE, unless you’re a demon!

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“A Streetcar Named Desire” at The Rondo Theatre, Larkhall, Bath, November 27th-30th.

by Ian Diddams
Images by Josie Mae-Ross and Infrogmation

Tennessee Williams’ quasi autobiographical drama “A Streetcar Named Desire” was first performed in 1947 as the world emerged from years of global conflict. That war had changed things for ever in many ways …  while in others, many things remained the same. Williams’ own family’s misfortunes and situations are threaded throughout the play, but while those may have been in reality based in the 30s and 40s the issues he raises – of misogyny, bigotry, domestic abuse, violence, homophobia, and social snobbery – are as obvious today as they were almost eighty years ago.

As titles go though, it may well have been simply named “The Fall and Fall….  And Fall of Blanche DuBois”

The eponymous streetcar ran on the line of that name in New Orleans until around the time the play was first performed. Its simple plot is that of Blanche DuBois and her fall from status, grace and finally sanity. Surrounding her is her sister Stella, who abandoned their cocooned life years before, Stella’s husband Stanley, a course, uncultured “Polak,” and their abusive relationship is mirrored by their neighbours Steve and Eunice.

A glimmer of light comes Blanche’s way in the guise of Mitch, seemingly gentler and more appreciative …  until he turns, showing his shared heritage with the other men. Blanche descends into madness as her airs and graces so vilified by Stanley slip away to expose her own seedy recent past, and her own bigotries, while exposing the other womenfolk’s tightrope walk through their marriages.

This is not a light play. It would come with plenty of trigger warnings – domestic violence, homophobia, rape, alcohol abuse, to name but a few of them. That the company present these challenging aspects convincingly without descending into casual titillation or merely seeking to shock is tribute to their acting skills, the direction of Heidi Street, and the set and technical wizardry on display.

There is another aspect to heighten the senses, and bring New Orleans’ Latin Quarter into this pleasant eastern suburb of genteel Bath, UK. The show’s very own jazz band of Tom Turner, Peter Tucker and Yvonne Paulley providing the appropriate Louisiana style soundtrack to complete this exquisite holistic production.

Not content with playing clarinet as above, Yvonne also appears as the Nurse and a rose seller with a fine command of Spanish, and in-between those two demands also produced the show. Accompanying her and is another clearly ridiculously talented man, Tom Turner swapping his saxophone to play the Doctor as the stranger whose kindness Blanche, for a final time, relies on. Toby Skelton is another all-rounder who aside from stage managing all of this also appears as the Young Man, while Riza Domi is obviously far more sensible, with just the one role of Pablo, one of Stanley’s poker playing buddies.

Neighbourly Steve and Eunice are subtly portrayed by Tim Carter and Sophie Kerr, all lovey-dovey and lustful – until the pans begin to fly. Tim Hounsome sensitively plays Mitch, Blanche’s almost love interest – until his urges almost overtake him and finally his own prejudices come through. Stella is sympathetically portrayed by the excellent Lauren Arena-McCann who as an American herself – albeit from New York State and not Louisiana also doubled up as unofficial voice coach! Her portrayal of an oppressed wife trapped in a caustic, abusive relationship in which she acquiesces easily to her own lustful urges, while protecting her sister from a world Blanche cannot comprehend is painfully perfect. Matt Rushton delivers Stanley cringingly well too…  his physical presence, large voice and overbearing character is full of unspoken menace the entire play; of course, to Stella but also to his drinking and poker buddies who he controls through fear.

Which simply leaves Blanche DuBois. Lucy Upward is the very essence of Southern belle – sophisticated, used to the finer things in life, seeking to move in the right social circles…  but exposing the cracks in that edifice as the story unfolds.  Delicious flirtatiousness, demure repose, increasing intemperance and the slide into insanity as her Walter Mitty world collapses around her. Lucy captures these airs, moods, and madness perfectly – she IS Blanche DuBois.

The set is a marvel – a perfect setting to portray a cramped two room apartment in the confines of a community theatre. Muslin roman blinds provide discreet views of more intimate – and jarring – moments while the rake of the stalls provides the upstairs flat from Stella and Stanley’s own. Costumes by Chrissie Fry as ever from her, capture the times and characters so well, from Blanche’s diminished trousseau to Stanley’s slobbish attire replete with hideous bowling shirt.

There is false hope, there is pain, there is self-delusion, there is despair. But overall, at the Rondo this week, with a sold out run, there is a Streetcar…  named Desire.







“Pericles” at the Wharf Theatre, Devizes, October 21st–26th 2024.

by Ian Diddams
images by Chris Watkins Media, Jeni Meade.

It would be fair to say that once William Shakespeare found or invented a plot device, he wasn’t one to avoid using it again. And again. And – well…  again, and again. Let’s play “Shakespeare Bingo” and “Guess the Play”…

There’s a STORM AT SEA, a SHIPWRECK, a HUSBAND is SEPARATED from his WIFE, FAMILIES are SEPARATED, each thinks the other is LOST or DEAD, somebody is thought to be DEAD but is actually ALIVE, a RULER abuses his position of POWER, there is a MAGICIAN controlling SOMEBODY, BROTHEL OWNERS, PIRATES, and in the end EVERTHING is resolved and family REUNITED.

Hmmmm.  Well, it’s a tricky one.  The Tempest? Twelfth Night? Comedy of Errors? Romeo and Juliet? Merchant of Venice? Othello? Winter’s Tale? Much Ado? All’s Well? Henry IV Pt 1? Measure for Measure? Cymberline? Two Gents? Hamlet?

All of these plays have at least one and often more of the attributes listed – Will liked to avoid working on new plotlines for sure. However, at the Wharf Theatre, Devizes, handily enough as it turns out, placed beside boats on the water to add even more background to a tale of watery confusions, is yet another Shakespeare play reliant on all of those points.

Pericles.

No, it’s not some sort of small whelk, or a garden perennial. It’s the story of an eponymous hero who escapes from a dodgy tyrant by running away to sea and…  well, you can piece the rest together from that second paragraph and Wikipedia.  Needless to say, all’s well that ends well. So to speak.

Now Pericles is not a popularly performed play. Indeed, according to a 2024 ranking of most performed Shakespearian plays it comes in 22nd of 49 positions since 2012. So it’s a real treat to be able to see it at a local theatre which may understandably have otherwise put on one of the “Big Six” [*], and running at the same time as the same play at the RSC to boot. The Wharf is no stranger either to putting on lesser known Shakespeare of course, having shown “Measure for Measure” in 2023. One reason for this wonderful opportunity to see this play is that the director, Nic Proud, is working his way through directing the entire canon – and this is his twenty-fifth play of that list, and another is the bold and open approach of the Wharf’s artistic director John Winterton.


The play rattles along – Nic has trimmed the script to the key plot points, although as he says the play is really a series of connected moments and he has created a smooth storyline using those moments. The usual top technical team (Three Ts!) deliver effects and lighting with aplomb of course, leaving the stage ready and waiting for the actors to take us on Pericles’ voyage not only of the high seas, but of his fate and inner turmoil. The set is simply adorned with white and purple drapes, which cunningly transform into a jousting tilt barrier, and ethereal wings of the goddess Diana. A roped balcony provides some height to the set.

Our titular character is well delivered by Chris Smith, one of the four cast who have only one part to concern themselves with (has two shipwrecks!), the others being Danielle Cosh as the ethereal Thaisa (dies at sea, comes back to life!) , Louise Peak as the perspicacious Helicanus, and Nic Proud as Thaliard, stepping into the role at a late stage when an unfortunate injury to Steve Brooks saw him unable to continue – we wish Steve a speedy recovery and hope he can return to the Wharf in the future.


The other six cast members play between them a bewildering array of twenty-one other characters! That list would run to volumes but huge kudos to Abigail Baker playing Marina, Pericles daughter (lost at sea – now THERE’s a thing…), Andy Bendell as the seedy bawd (!) Pander, Tony Luscombe as the dastardly Cleon (and a sailor in a  storm!), Sian Stables as even more dastardly Dionyza (and a sailor in a storm!) , Pete Wallis as the vengeful Antiochus (and a pirate!), and Debby Wilkinson as a brilliant mix of servant, bawd (!), sailor (in a storm!) and fisherman!


Nic’s scissors have created a play about the length of a football match, and which is wonderfully easy to follow – every cast member deliver the lines of Elizabethan English so well that its totally understandable and comprehensible. The costumes are totally sublime so once again chapeau (see what I did there?) to Gill Barnes and her team.

All that remains to say is take this chance to see a play most theatres and companies steer clear of. And if nothing else if you will save your self a drive to Stratford and back to see it.


Pericles is performed at the Wharf Theatre from October 21st-26thth 2024.
Tickets from https://www.ticketsource.co.uk/the-wharf-theatre/pericles/e-plavyr

[*] Big Six
1. A Midsummer Night’s Dream
2. Hamlet
    Romeo and Juliet
4. Macbeth
5. Twelfth Night
6. Much Ado About Nothing

“RENT” at The Rondo Theatre, Bath, March 13th-16th 2024

Ian Diddams

Written by Jonathan Larson
Presented by Maple Theatre Company

It’s always hard reviewing a show that one has seen multiple times before, performed by differing companies. It’s also hard reviewing a show that is one of one’s favourite shows EVAH. And if that wasn’t hard enough…  Its far too hard to review a show that one has performed in oneself. It’s wrong to compare – its unfair and meaningless…  differing companies, differing directors, differing theatres.  So, ignoring the seven other productions I’ve seen including the one I bummed around in (quite literally – if you know you know) ….  Here goes…..


For those that know the story of “RENT” – you can skip this paragraph. Otherwise, Jonathan Larson’s story – a glorious homage to Puccini’s “La Boheme” – revolves around a group of bohemians in the lower east side of New York City and deals with topics such as homelessness, drug addiction, betrayal, and AIDS… as well as love, friendship, recovery, and hope. All wrapped up with a stunning score of often poignant, sometimes funny, always beautiful singing with six-part harmonies. If you want to know more …  duck go go is your friend as ever.

RENT on stage is usually set in a quasi-industrial area – and Maple Theatre Company don’t buck that trend (I doubt RENT heads would allow it to be honest!). Scaffolding creates multiple levels which are used excellently throughout the show and frames several areas for the action. ON stage props and setting is minimal, but I raise my hat to the wonderful use of moveable music flight cases with wooden tops that represent beds, side tables and THE cafe table (if you know, you know). Quite brilliant also was the use of 40-gallon steel oil drums …  where “drums” covers two definitions of that word.  Chapeau to Luke Hocket, set designer (who also produced the show) and his set team of Tom Courtier and Milly Hayward.

Directing a show like “RENT” is no easy task (not as hard as reviewing it obviously 😉) as the show is basically “the same” whoever does it (as it is so iconic – maybe after 400 years, like Shakespeare, some aspects will be changed, and we will get a RENT set on a spaceship …)  but Dionna Kate-Hargreaves set her own stamp on it in subtly brilliant ways. I mentioned the use of multiple levels already but the piece de resistance of the show is in many ways …  the drumming.  (If you know you know).

And speaking of drumming that brings us to the music – a six-piece band led by MD Kris Nock rocked out the show hidden subtly off stage but in full view (once you know, you know). I wonder if Kris’ toughest task (not as arduous as reviewing obviously) was teaching three actors to hit a large piece of metal in time with two sticks for some considerable time (if you know, you know).


Tech is as ever hidden away where no one can see them up in the attic of the Rondo, and technical director Tom Courtier and his crew slid their sliders and pushed their buttons and  lit their lights to full effect. (I’ve got a deep and meaningful understanding of tech). Rule number one in a theatre is never hack off the tech guys – they have hammers, and saws, and unlimited access to 240v at all times (if you know, you know) so – GREAT WORK GUYS!!!

That’s about it then. Set, Tech, props, direction, music.  Yup. That’ll do.


Ah.

Yes.  That lot that cavorts upon the stage.  Nearly forgot them. Starting with cavorting…  choreographer and dance captain Grace Egginton and Grace Shobbrook whipped the cast into a frenzy of whirling limbs when they weren’t singing.  And often when they were come to that. It must be said the Rondo’s stage is quite….  Bijou… particularly when by necessity a good half of it is taken up by aluminium scaffolding poles that don’t bend if you collide with them (if you know, you know) so the tightness of choreography is impressive.

And so – the cast. I’ve used the line about “strutting and fretting his hour upon the stage” before so I won’t use it again.  Ooops.

It takes a dedicated cast to work “RENT” – it is emotionally draining (if you know, you know), taking its toll on the actors’ own emotions. And this cast did Jonathan Larson proud. The ensemble – they always get listed last so here they are first cos that’s important (if you know, you know) so bravo Daisy Wilson, Morgan Hames, Georgi pepper, Steven Hockett, Jasmine Lye, Sophie smith, Milly Haywood, and Sarah Easterbrook…  All of whom also starred in the all-important cameo parts that just make “RENT” simply “work”. Special mention must be made though for Jasmine, who stepped up to play the role of the harassed waiter in the café scene due to cast unavailability this evening.  Cometh the hour, cometh the Jas!

I suppose that leaves the principals. *sigh*.  OK. Well…  ummm…  errr…

Well in all honesty they weren’t good. Nope. Not at all.

THEY WERE BELTING!!!  FANTASTIC!!!  MAGNIFICENT!!!

and other superlatives.

In no particular order…  Bryan Houce played Mark…  his portrayal got stronger and stronger throughout the performance as the middle-class wannabe with no confidence (that’s Mark – not Bryan!). Mimi was played superbly by Grace Egginton who quite rightly as a choreographer played the part of a striptease dancer very well.  (Hmmm…  that maybe came out a bit wrong?) 😉Roger Davis, all angst, and anger was quite phenomenal played by Josh Phillips.  Absolutely fantastic. Liberty Williams probably stole the show for “most likely to break a wine glass at forty feet” with her incredible top note harmonising as Joanne, and Naomi Marie as Benny (déjà vu here – if you know, you know) as the brooding, mean turncoat-comes-good ex-flatmate.

If I appear to be rushing through these principals, it’s because I could write war and peace about them otherwise. Next up – in her first ever principal role (which is hard to believe, if not as hard as reviewing of course) playing Maureen was Sarah Askew.  Now Sarah is no mean belter of a top noted harmony as well, as befits a rock band vocalist (if you know, you know) but …  well.  If you need a top MOO-ERR then Sarah is your girl (if you know, you know).  And then we have Davey Evans as Collins. Another wow moment.  Collins is a complex character to play especially with the range of emotions demanded of it, and Davey perfected them all. Great voice too. Which leaves last, but of course NEVER least…  Angel. George Friend. I had the pleasure of speaking with George before and after the show – he is reprising the role he played in 2017 – and he claimed (yeah right 😉) he couldn’t believe he could still reach the high notes he needed but they were well reached, another great performance.

So that’s it. I’ve reviewed a show that’s hard to review. A show that for an opening night was quite wonderful. And let us not forget either the debut show for a brand-new Bath based community theatre company.  Top job.


“RENT” runs until Saturday 16th March at 1930 each evening with a 1430 matinee on the 16th. Tickets can be bought from
https://www.ticketsource.co.uk/whats-on/bath/rondo-theatre/rent/e-mdxlbz

and I urge you to go.

And – don’t forget to MOOOO!  (if you know, you know).

You always said how lucky you were that we were all friends. But it was us, baby, who were the lucky ones.

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